Marvin V. Acuna

Back when I was a kid I enjoyed watching a public service announcement of an animated Scroll educating me on how a Bill becomes a Law. It was obviously a simplified explanation, but it offered insights into the process.

While not an animated presentation, allow me to guide you as we witness our original speculative (“spec”) screenplay Buster (short for blockbuster) navigate the maze of how a spec becomes a sale.

Here we go.

Buster’s agent and creator agree that he is officially ready for a formal introduction to the world… Hollywood. Now what?

First, Buster’s agent sifts through his market intelligence and historical evidence to determine which producers would be the most appropriate for the material and more importantly, who will have the greatest potential and influence to sell

Buster.

The list of producers compiled by Buster’s agent will likely include a combination of studio producers and indie producers who have strong relationships with the various buyers in the marketplace.

For clarity sake, the studio producer is traditionally defined as someone who has a deal in place at one of the Major Studios. Note: the business has significantly changed since Buster was born, producers with studio deals should be on the endangered list. Fewer and fewer exist.

Then you have the indie producer. Keep in mind that before Buster was born most people viewed indie producers as the guys who made small films. But, today there are some pretty well known producers without any kind of deal. They are now indie producers too. In essence, anyone without a major studio deal is traditionally framed as an indie.

Additionally it should be noted that the marketplace is loosely defined as follows: Warner Brothers, Universal, FOX, Paramount, Sony, Disney, and (to some extent) MGM/UA are considered the MAJORS. All the remaining buyers are traditionally categorized as Mini’s (i.e. Lionsgate) or Independents (i.e. Sidney Kimmel Entertainment).

There are many factors that Buster’s agent will consider in choosing the right producer for Buster. Here are simply a few:

• Does the producer have a deal? Is it a new deal or is it an old deal that may not be renewed?
• What’s the producer currently developing? What’s on their current production slate?
• Does the producer have strong relationships with studio executives? Which executives? What’s the studio executive’s shelf life look like? Is the executive on the way up or on the way out?
• What have they recently sold? What have they recently made? Was it a hit? Is the buyer happy with the performance?
• Can the producer offer any additional meaningful market intelligence to navigate the buyer’s maze that will help make the sale?
• Does the producer have strong relationships with talent, directors, or their respective agents? Could the producer be successful in packaging Buster with strong elements that may elevate the potential for a sale?
• Has the producer ever read Buster’s creator’s previous works? In essence, is there a preexisting relationship with the Producer?

The list of factors to consider can go on forever. Let’s move on, shall we.

Ok. Now that Buster’s agent has carefully identified the key target producers for each buyer(s) he will initially contact, it’s time to execute.

It’s not a hard rule, but specs like Buster traditionally hit the market on Tuesdays. This year over 300 specs have already been circulated.

And we’re moving.

Next, Buster’s agent prioritizes his phone sheet, rehearses his passionate sales pitch about Buster, and does a few finger dialing exercises and keyboard strokes as a warm up.

One last glance at the mirror (strategically placed on the desk of course) for final inspection of THE game face and it’s on!!

Dial tone, key phone entries, and an inhale, then ring, ring, ring… and finally a voice on the other end:

“Lorenzo di Bonaventura’s office…” (It should be noted that assistants rarely answer the phone with the gratuitous “hello”).

To be continued…